Perhaps the best-known example of this development is Gentile da Fabriano’s Nativity, painted between 1420 and 1422. It shows a novel scene: Mary adoring the infant Christ, an image that emerged around 1300 in connection with mysticism and Franciscan devotional writings. There is innovation, too, in the treatment of Mary; she is shown isolated, pushed to the foreground, and elevated to the most important protagonist in the scene. The naked child appears at the center of the composition as a sacrificial offering. In this way, Gentile turns the Nativity scene into a devotional icon, with Mary acting as exemplar for the viewer’s prayer. Strikingly, this work thus acknowledges the viewer, a shift characteristic of the 15th-century interest in creating close-ups of narrative scenes and powerful, almost cinematic imagery.